The End: Narration and Closure in the CinemaWayne State University Press, 1995 - 213 من الصفحات Given the importance that spectators grant to the final moments of a motion picture, it is surprising to find so little written on how films end and how audiences interpret those closing moments. This study investigates endings in film and the lively role they play in how and why viewers make sense of movies. Relying upon contemporary literary criticism and film theory, the author analyses narrative strategies in films ranging from the classical Hollywood motion picture to the more modern European art cinema. To assist readers in understanding the various functions of endings, the films are divided into four critical categories: the "Closed Text" film, typical of classical works; the "Open Story" films; the "Open Discourse" film; and the "Open Text" film which struggles to defy story resolution. Detailed textual analysis of sample films reveal how all of the devices of filmic narration - from "mise-en-scene" to soundtracks - direct a viewer's perception, comprehension and interpretation of closure in films. Among the sample films that are featured as test cases for studying endings are "The Quiet Man" (Ford, 1950), "The 400 Blows" (Truffaut, 1959), "Weekend" (Godard, 1967), "Tout va bien" (Godard, 1972), and "Earth" (Dovzhenko, 1930). To round out his informative study of endings in films, Neupert also examines a host of diverse titles, including "Do the Right Thing" (Lee, 1989), "Open City" (Rossellini, 1945) and "The Graduate" (Nichols, 1967). |
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الصفحة 7
... Narrative Discourse 16 21 Narration and Narrative Voice 23 The Spectator 27 The Categories 32 35 2. THE CLOSED TEXT FILM Story Resolution in The Quiet Man 41 Discursive Closure and Bracketing 53 Voice - over Narration as a Closure ...
... Narrative Discourse 16 21 Narration and Narrative Voice 23 The Spectator 27 The Categories 32 35 2. THE CLOSED TEXT FILM Story Resolution in The Quiet Man 41 Discursive Closure and Bracketing 53 Voice - over Narration as a Closure ...
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الصفحة 24
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المحتوى
THE OPEN TEXT FILM | 135 |
The Unresolved Story and Weekend | 145 |
Point of View and Intertextual Reference | 156 |
CONCLUSIONS | 177 |
Segmentation for The Quiet Man | 183 |
عبارات ومصطلحات مألوفة
action codes Antoine Antoine Doinel Antoine's audience begins Blows Bonnes femmes camera characters cinema classical Hollywood cinema Closed Text film closure device complete conclusion construction continue conventional Corinne's Danaher David Bordwell dialogical diegesis diegetic Doinel epilogue Fade Fade Father Lonergan fictional fight film ends film's filmic final scene François Truffaut functions genres Gérard Genette Godard happy ending Hollywood images Innisfree interpreted intertitles Jean-Luc Godard Kalfon Les Bonnes femmes Mary Kate Michaleen narrative discourse narrative strategies narrative voice neorealist Open Discourse film Open Story film Open Text films paratactic Paris Peter Brooks Playfair plot point of view primary narrator production Quiet René resolved story Roland and Corinne Sean and Mary Sean's segment semiotic sequence soundtrack spectator spectator's story elements story events story resolution story's structure telling text's textual theme Tillane Tout va bien Truffaut's Tzvetan Todorov unified Univ Vasyl viewer voice-over Weekend White O'Morn writes